The only known signed Roman fresco is from Pompeii. It was executed by a certain “Lucius”. Puzzlingly, his is not an accomplished work
in the Roman world. There were truly creative artiststhat have nearly all been lost. The surviving examples suggest they were producing high-quality pieces of this kind at least as early as the end of the first centuryAt a quite different level were the painters who decorated the walls of homes, and who are the main focus of this exhibition. Many were slaves but, even if free, they were seen as artisans rather than gifted artists.
Lucius was a slave with attitude or, as Mr Grimaldi speculates, an amateur dauber who belonged to the family of the householder, will probably never be known. No tomb has ever been found with an inscription identifying the dead person as a house painter. “The Painters of Pompeii” opens ironically, with a picture of a very different kind of artist. It is a fresco showing an elegant lady who seems to have completed the work at her feet, executed on some form of material held within a frame of cane . Whether she was a professional artist, the spiritual ancestor ofThough records have survived that show other artisans stood for public office, none tells of a house painter doing the same.
Two kinds of visitors will be drawn to this show. Archaeology buffs may be intrigued by the evidence and theories of what, in effect, is a visible report on the state of research into theand their world. Others will come for the art—and what they will find is evidence of the truism that you get what you pay for.
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